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Guy Gavriel Kay

Guy Gavriel Kay Books

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Under Heaven

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Tigana

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River of Stars

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“No one escorted either man, so no one knew what it was that Rodrigo Belmonte and Ammar ibn Kairan said to each other when they stopped their horses a little distance apart, alone in the world. Each man dismounted, however, after a moment... Then they faced each other again and Jehane could see Ammar say one last thin, and Rodrigo reply. Then they lowered their helms.”

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Book:The Lions of Al-Rassan
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“But Crispin had had three souls in Jad's creation to live with and love, and all three were gone. Was the knowledge of other losses to assuage his own? Sometimes, half asleep at night in the house, a wine flask empty by his bed, he would lie in the dark and think he heard breathing, a voice, one of the girls crying aloud in her dreams in the next room.”

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Book:Sailing to Sarantium
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“It would have been pleasant, the thought came to him, to be able to lay down their weapons on the darkening grass. To walk away from this place, from what they were being made to do, past the ruins, along the river and into the woods beyond. To find a forest pool, wash their wounds and drink from the cool water and then sit beneath the trees, out of the wind, silent as the summer night came down. Not in this life.”

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Book:The Lions of Al-Rassan
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“It ought never to have been so swift, so much like a dance or a dream. It was as if there had been music playing somewhere, almost but not quite heard. He had fought those five men side-by-side with Rodrigo Belmonte of Valledo, whom he had never seen in his life, and it had been as nothing had ever been before, on a battlefield or anywhere else. It had felt weirdly akin to having doubled himself. To fighting as if there were two hard-trained bodies with the one controlling mind. They hadn't spoken during the fight. No warnings, tactics. It hadn't even lasted long enough for that. He ought to have been elated after such a triumph, perhaps curious, intrigued. He was deeply unsettled instead. Restless. Even a little afraid, if he was honest with himself... Come, brother; Rodrigo Belmonte of Valledo had said today as five hard men with swords had walked forward to encircle the two of them. Shall we show them how this is done? They had shown them. Brother. He had looked at Belmonte after, and had seen - with relief and apprehension, both - a mirror image of that same strangeness. As if something had gone flying away from each of them and was only just coming back. The Valledan had looked glazed, unfocused. At least, Ammar had thought, it isn't only me.”

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Book:The Lions of Al-Rassan
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“But she had never, ever heard Rodrigo speak of another man the way he'd talked about Ammar ibn Khairan during the long, waiting winter just past. The way the man sat a horse, handled a blade, a bow, devised strategies, jested, spoke of history, geography, the properties of good wine. Even the way he wrote poetry. "Are you in love with this man?" she'd asked her husband once in Fezana that winter - more than half jealous, if truth were told. "I suppose I am, in a way," Rodrigo had replied after a moment. "Isn't it odd." It wasn't, really, Miranda thought, on that hill by Silvenes.”

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Book:The Lions of Al-Rassan
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“I love the way folktale and fantasy tap into the roots of story telling. The paradox, for me, is that by moving a story into the fantastic we can actually bring it closer to the reader, not move it further away. It is more than an escape. When we read of the only daughter of a fisherman (or the third son of a woodcutter) in a fairy tale, we are all that character. That's the underlying pulse beat of such tales. Using the fantastic as a prism for the past, if done properly, removes the tale from distancing specificity. It can't just be read as unique to a time and place; it is universalized in interesting, powerful ways. When I wrote Tigana, about the way tyranny tries to erase identity in conquered peoples, the fantasy setting seems to have done exactly that: I'm asked in places ranging from Korea to Poland to Croatia to Quebec, "Were you writing about us?" I was. All of them. That is the point. The fantastic is a tool in the writer's arsenal, as potentially powerful as any there is, and any tool we have works to the benefit of the reader.”

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Book:Under Heaven
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“Eyyia?" said her husband, and Eliane bet Danel heard the mangling of her name as music. "You sound like a marsh frog," she said, moving to stand before his chair. By the flickering light she saw him smile. "Where have you been," she asked. "My dear. I've needed you so much." "Eyyia," he tried again, and stood up. His eyes were black hollows. They would always be hollows. He opened his arms and she moved into the space they made in the world, and laying her head against his chest she permitted herself the almost unimaginable luxury of grief.”

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Book:The Lions of Al-Rassan
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